Well-Aged Music

My taste is eclectic; here you will find everything from folk, blues, and jug-band music to experimental bluegrass and avant-garde classical music. My bias is certainly towards acoustic music with little production and much enthusiasm, but my sole selection criteria is Quality.

Disclaimer

The music on this site is mostly old, hard-to-find, or under-noticed music. Many of the musicians are dead. As for the living musicians, I put their music here because I want to spread and publicize it, not because I want to rip them off. Musicians, like artists, are a hard-working and under-compensated lot, and I highly recommend that if you like the music you find here, you seek out their other recordings. Of course, if any musician finds their music here and wants it removed, contact me and I'll happily oblige.

Taxonomy

Roots - Where our music came from; our shared heritage. It may not sound contemporary, but if you listen you can hear its echoes in everything that has come since.

Branches - A bridge between cultures, styles, musical languages. As a meeting of two or more rivers, the sources mingle and new life is born.

Fruits - Music ripened to perfection. It has absorbed the roots, grown in the sun of contemporary life, and made a new statement. Sweet and nourishing.

Seeds - The start of something new. These musicians went out on a limb, and did something never done before. Whether they had followers or not, their music retains the stamp of individuality and experimentation.

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December 20, 2012

The child is born in the darkness of the womb; the chicken hatched after incubation. Birth begins in darkness, as dawn follows the long night, and spring springs from winter. We must not interrupt the incubation period within us, or force it to bear fruit before its time. To pull a seed out of the earth before it sprouts, to open a chrysalis before the emerging butterfly forms its wings may prevent new life from awakening.

- Torrey Philemon

"You darkness, that I come from,

I love you more than all the fires

that fence in the world,

for the fire makes

a circle of light for everyone,

and then no one outside learns of you.

But the darkness pulls in everything;

shapes and fires, animals and myself,

how easily it gathers them!—

powers and people—

and it is possible a great energy

is moving near me.

I have faith in nights."

- Rainer Maria Rilke, On Darkness

Out of darkness, light: Solstice and the lunar eclipse

by Starhawk, 10-20-2010

Winter Solstice--the shortest day and longest night of the year. For Pagans, Wiccans and Goddess worshippers, this is one of our most sacred holidays. As winter closes in, the darkness grows and the light recedes. For Pagans, darkness is the necessary balance to light. We don't conceive of the dark as evil, but as a place of potential, of gestation--the black, fertile soil where the seed puts forth roots and shoots, the dark womb where new life is nurtured. But being humans, we also have a natural affinity for the light, the time of growth and new beginnings, of warmth and color and bright new hopes. Solstice reminds us that no darkness, no loss, no grief or disappointment is final. Out of darkness, light is born. Every ending gives rise to a new beginning. Out of disappointment and despair comes new courage, new hope.

This year, Solstice coincides with a total lunar eclipse. The last time this happened was in 1544. The earth aligns directly with the sun and the moon, casting a shadow on the moon's face. The moon is a Super Moon, at its closest to the earth. And, so my astrologer friends tell me, we are also directly aligned with our Milky Way's Galactic Center, where the galaxy gives birth to stars. We are in a great birth canal, on the night when mythically Mother Night gives birth to the Sun Child of the New Year.

What does this all mean? For those of you who like to align your meditations and your magic with the movements of the stars, we stand tonight between the past and the future. For the first hour and a quarter of the eclipse, (starting at 1:30 am East Coast Standard Time), it's as if we step out of time. We are free of the past, and we can consciously create the future, for ourselves, for our communities, for the earth.

It's a night to take a good look at what you want to shed. What are the behaviors, the beliefs, the patterns that no longer serve? Let them go. Make the commitment to change.

And it's a night to envision the future you want to create. What world do we want to see? How will we step up to face the huge challenges of healing our communities, our economies, our climate and our environment? What risks will we need to take? What will we need to let go of, and what will we need to embrace?

And hey, even if you think all astrology is bunkum, take a moment tonight to go out, to marvel at the moon with the mark of the earth written across her face, to let go of what you no longer need and call in what you want. And if you can do this with friends, and family, in community, with good food and a warm fire and a few candles, and raise a cup of gratitude for all we have and all we share, you may find that the courage, the support, the power, the love and luck you need for this New Year are born in the depths of the night, and awaken at dawn with the rising sun.

A blessed solstice to you all!

And with that in mind I'd like to share with you this special mysterious ancient solstice tradition that was still being performed the last time there was a full-eclipse on a winter solstice, some hundreds of years ago. I'd like to specially dedicate this post to Joski at Merlin's New Rags and Gadaya at the Old Weird America, for their superb scholarly posts and special collections of different versions of ancient folk tunes.

"Besides for solace of our people, and allurement of the savages, we were provided of Musike in good variety not omitting the least toyes, as Morris dancers, Hobby horses, and Maylike conceits to delight the Savage people, whom we intended to winne by all faire means possible."

The Abbots Bromley Horn Dance

The Abbots Bromley Horn Dance is the oldest surviving ritual dance in the northern hemisphere. The dance dates back at least to the early medieval period. The first written record of its performance is from the Barthelmy fair in 1226. Historians have suggested that it celebrates the purchase of hunting rights in Needwood Forest from the Abbot of Bromley, restoring previous Saxon privileges. It is performed every year on Wakes Monday in the village of Abbots Bromley, in the English Midlands. At 8:00 a.m. the horns are taken from the church, where they are kept during the year, and the dancers make their rounds, stopping at various locations throughout the village and its surrounding farms and pubs, a distance of about ten miles. After dancing all day, the horns are returned to the church in the evening.

The Horn Dance team consists of six Deer-men, a Fool, a Hobby Horse, Maid Marion (a man dressed as a woman), a Bowman (Robin Hood or Boy Cupid), and two musicians. The horns are a mystery. They are large reindeer horns mounted on wooden effigies of stags' heads, with the largest pair weighing about 25 pounds. Chemical dating places them at around 1000 years old. Since there are no records of reindeer living in Britain since Neolithic times, there is speculation that these may have been imported especially for the dance. Three of them are painted black, and three brown. Once they were red and white, said to represent the battle between winter and spring, darkness and light.

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Does the dance represent a ritual combat between the forces of light and darkness? Or does it reenact a stylized hunt? In primitive societies, the miming of a successful hunt is often used as 'sympathetic magic' to give power over real quarry. The famous wall paintings at Les Trois Frères, France, known as "The Sorcerer" show a naked man dancing in antlers and a deer mask. A carving found at Pin Hole Cave, Creswell Crags, Derbyshire, (known to have been used by Neolithic hunters) portrays a man in an animal headdress. Both suggest that pre-historic shaman used animal disguises in their rituals.

According to the locals, the dance is supposed to bring good fortune to the people and fertility to the crops. In its slow and serpentine windings, is it stirring some ritual magic from a long-forgotten past? There is no way of knowing, and that is part of the enigma of the horn dance.

Although traditionally performed on Wakes Monday, the dance was also performed on other special occasions. For over 400 years now, the leadership of the horn dance has remained in the Bentley family. Although generally performed only by the men, in the 2000 dance Robin Hood was played by a young girl. The mysterious tune generally associated with the dance was first written down in 1857.

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There are several theories concerning the roots of this peculiar festival. It may well have begun as a Winter Solstice ritual, but it has also been suggested that it was born when King Henry I (1100-1135 AD) granted hunting rights to the people of the area. The dance was supposed to have been created as a mark of gratitude.

The hunting rights theory is suspect, however, because the Horn Dance shows signs of having had a much earlier, pre-Christian beginning when magic and fertility ceremonies were very much aspects of the lives of ordinary people. It's interesting to note that some of the figures to be seen in the world-famous cave paintings at Lascaux look very like the Abbots Bromley Horn Dancers. These figures are over 20,000 years old, so perhaps the true origins of the dance you can see today at Abbots Bromley are far more ancient than most people realize.

Tony Hall's and Trotto's versions are probably the most traditional forms of the tune, though one with just tin whistle and drum would be even moreso. And yes, I do realize that Jessica Simpson's voice on "In Winter's Shadow" is totally annoying. But it's a fine poem, and a damn good tune. Richard Greene's version is, unsurprisingly, totally gorgeous.

So. Turn off your lights. Go outside. Look at the moon. Then come in, light a candle, and put the tune on, and drift off into the otherworld. And at the high point of each musical phrase, imagine antlered men clashing heads, locked in a stately, solemn dance.

May 15, 2012

This is totally sweet. A must-listen. Mustmustmustmustmust. Really. I can just put this album on repeat and not get tired of it. In fact, it just gets better.

From a comment left on my blog:

Toumani’s music is certainly a life changer! I went as far as actually learning to play his particular arrangements of Manding kora music on the guitar. Perhaps you’d like to take a listen: http://soundcloud.com/olly-barnett/derek-gripper-tubaka
The full album is due for release under the name “One Night on Earth: Music from the Strings of Mali” from http://www.derekgripper.com after the 12th of May. Yours, Derek Gripper (South African Guitarist)

March 24, 2012

I just realized that though I don't have the bandwidth to upload anything currently, or the time to write reviews, every once in a while I come across something that would be easy to share with you all. This is one such instance.

Enjoy this and grab it quick! It's free only this weekend. And the music is very very fine as well. Jake Schepps is a really skilled and exploratory banjo player, and the album also features the absolutely incredible young guitarist Grant Gordy (perhaps my favorite living guitarist, and a really nice guy too), and a crop of talented Colorado-based acoustic musicians. I saw them play these tunes live last summer, in an old schoolhouse in the mountains… maybe 30 people in the audience. Just incredible music.

John Fahey attempted to fuse the ideas of Béla Bartók with the "primitive" music of the United States. Jake Schepps' project is another take on the same. Except instead of using American melodies and Bartókian harmonies, he uses Bartók's melodies and an American string band arrangement. And I think you'll find, that like most classical music that was inspired by folk music, it sounds better on folk instruments than on grand pianos.

Enjoy!

Hello Friends,

A short reminder that right now you can download the criticallyacclaimed album "An Evening in the Village: the Music of Bela Bartok" for FREE. Please spread the word and let any and all know that for the next two days (March 24, & 25) you can download the entire album with bonus tracks for the big fat price of $0.00. Bandcamp does offer the option to pay something if you are so inclined, and you can buy a physical copy for only $10. And as always, if you buy two Bartok CD's you get a freeTen Thousand Leaves.Facebook info here. Tweet this to your followers by clicking here, and then head straight to Bandcamp to get your copy.

March 21, 2012

Hello, to all readers who haven't given up on this blog for the lack of updates. It's ok, you can give up now!

It's been almost a year since my last post, and I'm not any closer to having either the time or the consistent internet connection to maintain it. I live off-grid, in what looks at night to be a great wooden spaceship. I have to travel to use the internet, and so my time on it is strictly reserved for business. And, to make matters worse, most of the files have expired in some form or other, and I certainly don't have the time or bandwidth to re-upload them.

I have not abandoned music of course. Far from it! I now have a gaggle of instruments that I'm in some stage of learning (guitar, banjo, washboard, bones, bouzouki, baglama, pipa, slide guitar, drum, cavaquinho, etc…). I also host a regular celtic session, play in a Tom Waitsy jug band, perform as a storyteller, and I'm the music director of a local community radio station (leave it to a pirate to be on the radio…). I continue to listen to new music with wide ears an spread its wonder and beauty to those I know. I continue studying the world around me, celebrating the seasons and learning to live a regenerative life. If anything, the major difference in my activity is that it now takes place principally in the material world rather than the cyber world. And I am happy for that.

There were hundreds of albums I still wanted to share. Half of them were uploaded and I never found the time to write about them. Ah well. There are always things left undone. Maybe someday I'll get back to it, if my life goes in that direction. But I do not see that life before me right now, so I am not expecting it.

So, I hope you can all accept the sweet death of this blog, and my activities in updating it. I'll leave all the posts, though there's scarcely any music to be found there anymore. But hopefully what I've shared, both in sound and in words, has helped to open a few doors, and I hope that wherever those doors lead you, you follow them into the beautiful unknown.